HELL

O
MOTION
MEDIA AND
INFORMATIO
N
 01 identification
of logos

Let's 2

play
02 identification
pictures
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 Dimensions of
Lesson 01
motion
information and
media
Production of
motion information
02 Lesson
and media
Reliability of
03
Lesson motion informtion
and media

Evaluation of motion 04 Lesson

information and
media
 Introduction
"Motion in media" refers to the use of movement
or animation within various forms of media. It
essentially means anything that moves or changes
over time, adding dynamism and visual interest to
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the content.
"Motion in media" is a broad term encompassing a
range of techniques and applications. It's a powerful tool
for communication, entertainment, and education,
enhancing the impact and effectiveness of media
content.
LESSON 1:Dimensions of motion information
and media
1. Audience: Motion media often targets large, heterogeneous, and
anonymous audiences. This means it's designed to reach masses, often
without tailoring content for individual needs or identities.
2. Context: Motion media is often consumed in public contexts, like movie
theaters or classrooms, or in busy transport hubs. It can also be accessed
privately, such as watching television before going to bed or scrolling 15
through social media on smartphones while commuting.
3. Message: The messages delivered through motion media are typically
impersonal and transitory, matching the broad nature of the audience.
While the message itself may not carry significant weight, it can still
influence viewers' attitudes, thinking, or worldview.
4. Delivery: Motion media engages multiple senses, using sight and
sound to convey information. This multisensory approach can enhance
engagement and understanding.
Traditional types of motion
media
Animation: This can be hand-drawn sequences or digitally
rendered by programs like Java, Flash and others. They can be
stored in various file formats such as .GIF, .GFY,…WEBM, MP4, o
other files.
Motion pictures: These are used in videos and cinematic films.
Interactive video: This type of video has features such as
clickable portions, the addition of comments or annotations, or
Quick Time Events in rendered cutscenes for video games.
Streaming media: This is less a type and more a delivery method
which involves live broadcast over the internet.
Given its features and the sort of audience it suits, motion media is useful in the
following contexts.
Education gains a lot from the use of motion media. Some
practical/process-oriented lessons are better demonstrated using
animated or motion visuals as opposed to verbal lists of steps.
Furthermore, today’s learner tends to be more visual and auditory.
Tapping those senses helps learners retain the information and
skills they acquire.
Documentaries, instructional videos, and slide presentations such
as PowerPoint or Prezi are all useful in educational contexts.
Entertainment has long benefited from the highly visual angle of motion media.
Broadcast television and film use motion media, combining graphics and sound to
reach broad audiences and producing decades’ worth of work. New media has also
allowed for varied entertainment material, such as Flash cartoons and motion
comics, YouTube webcasts, product reviews or similar web series. Video games are
also venues for the entertainment use of motion media, as well as of interactive
engagement.

advertising has always found a use for motion media, asit can carry out advertisers
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visions more effectively than print media. Television
commercials have been a mainstay of broadcast media
since television’s inception. New media demonstrates
advertising’s continued use of motion media in the constant
insertion of animated ads in YouTube videos and in various
frames of social media pages.
Advertising also benefits from motion media’s ability to deliver impersonal messages to a
broad audience. While advertising tends to be more specific about delivering its message to a
specific target market, reaching people outside that target market still results in exposure for
the product and the brand. Furthermore, motion media appeals to multiple senses, which
allows for the advertisement to be more entertaining and memorable.
Lesson 2:Production of motion
information and media
At its simplest, motion media is a presentation of text and graphics arranged to simulate or
portray movement, with the addition of sound to enhance the presentation. However, making
motion media is not always as simple as that description makes it sound.

Formal Motion Media: Produced by trained professionals who adhere to industry and
state standards. Examples include films and broadcast media
Informal Motion Media: Created by individuals for recreational or other purposes using19
readily available technology
Impact of Motion Media: Motion media can have a significant impact on society and
influence the behavior or thinking of its audience.
Importance of Training and Standards: Training and industry standards are crucial for
ensuring the responsible and ethical production of motion mediia.
Motion Media: A presentation of text and graphics, often with sound, designed to
simulate or portray movement.
Authoritative: A source or content that is considered reliable and trustworthy.
Confer Status: To give someone or something a particular social standing or importance.
The production process for animation tends to follow these steps

1.Writing the script. While this seems unnecessary for a short animation or presentation, that brevity actually
makes it all the more important: there is only have a small window to make the point clearly and memorably. This
step is guided by three key concepts: audience (who this is trying to reach), message (the main idea of the
piece), and impact (how this will affect the audience emotionally).
Unlike print, motion media allows the option of using kinetic (moving) text and graphics, as well as voiceovers
and even music. These may be used to highlight certain concepts, clearly label material, and evoke a response
from the viewer. At this stage a writer can already identify parts that would benefit from the use of graphics and
audio, as long as one does not overwhelm the other.

2.Storyboarding. This step takes the words listed in the scripting step and pairs them with visuals. Animation
Director Ron Doucet of floobynooby.com, an animation.
analysis website, calls storyboards “mini-directors” with “lots of responsibility but lots of freedom.” Storyboards
are essentially sequential panels drawn to represent key animation frames. Below or beside these panels will be
the voiceover dialogue, to indicate the timing and interplay of graphics and voice
If not settled at the scripting stage, decisions can also be made here regarding speed (the pace at which frames
progress), direction (orientation of movement, from top to bottom, left to right, far to near), timing
(synchronization of some elements, or the use of pauses), transitions (abrupt or subtle movement from one
frame to another), and other visualization elements and techniques.
Other planning steps include the composition of a shot list, which itemizes the number and type of footage
needed for the production.
3.Preparing the visuals. This may involve hand-drawn
animation, Flash animation, or composing a slideshow.
Traditionally, animation relies on lead animators who draw
key frames, and “in-betweeners“ who draw the frames that
link these. These days, many applications have been
developed to automate many of the smaller steps. For
productions involving video, this is the step where shooting
(filming) or acquisition of existing video takes place.
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4.Preparing the sound. This may involve acquiring or

recording music, as well as recording the scripted
voiceover material. One way of doing this is called
dubbing, which entails recording specifically-timed
voiceover material to match footage or animation.
Recordings may then be trimmed and edited to suit the
needs of the production.
5. Editing, or putting it all together. The combination of visuals and sound is then
assembled and rendered. This may require some editing in order to trim and time the
material, as well as insert any additional effects that may be needed. In the end, the
finished production may be saved to a particular format, usually a digital one. Motion media
in video form can be demanding in terms of file size, although various codecs exist to save
the final product to a manageable size.
Digital file formats include .GIF, .GFY, and .WEBM for
short animations and clips, and .3GP (an older cell phone video format), .WMV
(Windows Media Video), .MOV (QuickTime Movie), .MP4 (MPEG-4), and .MKV
(Matroshka multimedia container) for video.
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6. Approval and Distribution. Formally-produced motion media is often

produced for a client who has distribution channels lined up.
Advertisements may go on television, different social media networks, or in
large-screen displays in public places like train stations. Television is also the
usual landing point for motion media made for entertainment purposes,
although online video-streaming sites like YouTube, Netflix, DailyMotion, and
Vimeo are also frequent choices.
Lesson 3:Reliability of motion
information and media
The high accessibility of motion media and information makes life convenient for people
who need information in a visually engaging manner. News and information, educational
material, entertainment, and even advertisements are all easily accessed, each bringing
its own message to a broad audience. However, this breadth of information comes with
risks: biased or outright inaccurate content, manipulated or edited material, and the like
are all as easy to encounter as properly-constructed material. A critical consumer of 23
motion media and information must be able to properly evaluate these

The following are useful for determining the reliability of a motion media source
1..Authority. Does the creator of the motion media have firsthand knowledge of the material being
covered, or a good amount of credibility in the relevant field? Does the creator of the motion media
credit references and sources that lend credibility to them and the material.
2.Accuracy. Does the work essentially present the truth?Fact-check the information in it. Motion
media tends to package information in a neat, polished form , but a critical viewer knows better than
to accept information blindly.Weigh the truthfulness of the claims made in the piece, and consider
the need to check other sources for consistency
3.Currency: This pertains to the timeliness of the content. Some content might be timeless,
while others require up-to-date information. It’s essential to ensure that the material is current
and supported by up-to-date references and data
4.Objectivity. Does the work show any signs of bias? A work might show only portions that
would be favorable to a particular side in a conflict. Quotes used in the material may be similarly
taken out of context. Tracking down the original source would be helpful in gauging the reliability
of motion media . Does the creator of the piece represent a particular point of view toward the
subject of the material?Does this point of view come with any likely motives or purpose for
presenting the material in this manner.
5.Primacy. Is the work supported by primary or secondary sources? A primary source offers 24
firsthand information about the event or topic A secondary source presents secondhand
information about the event, usually by summarizing, interpreting, or discussing primary sources

6.Authenticity.Does the work show any signs of manipulation? Inspect the video for
technical soundness. Manipulated or tampered footage can be detected through some
visual signs , such as jerky jumps between movements that indicate splicing of different
frames, and inconsistent lighting and shadows
Lesson 4:Evaluation of a Creative
Motion-Based Presentation
Motion media must be designed well for it to have the desired impact, when reaching its
broad audience to deliver its educational, entertaining, or advertising message. It needs to
be
anchored on intelligent decisions particularly at the design phase. This can be seen in the
indispensable storyboarding step , which does more than simply replicate the effort put into
the scripting process.
To maximize the potential of motion media for delivering information, one must follow 25
design principles, and consider certain design elements.

In creating your own motion media that primarily considers audience, message , and
impact, there are many design elements and tools at your disposal.
KINETIC TYPOGRAPHY
Moving text is one of the most useful flexible of motion media . Text can supplement
graphics, and kinetic typography – expanding, shrinking, moving,appearing, disappearing
text – can be used for a number of purposes. Movable type can add visual interest,
emotional connection, and impact to a work… The choice of font or typeface, as well as the
choice of color for the text as opposed to color of the background, will also be instrumental.
COMPOSITION
Similar to how important they are in print media, composition and layout are crucial
considerations in motion media . This refers to the visual organization of elements within
an onscreen frame. The use of the principle is generally similar, in that placement and
arrangement of elements onscreen should be purposeful.The primary difference in how
composition is used in motion media lies in the notion that spatial relationships may be in
flux, or may change over time as the animation proceeds. Two objects or people set close to
each other in one frame may move away from each other --or vice versa-over time. In
motion media, the elements of composition must be considered relative to motion,
direction, and speed. Shape. The standard geometric shapes can be used as guides to organize how
things are positioned in a frame. 26
Space. The distance between objects carries meaning. Negative space (empty space,
where nothing is placed)can also be used for this purpose.
Line. Elements can be arranged according to linear relative positions, or move in a
linear direction.
Scale. This refers to the proportion of things relative to other things (involving
balance, symmetry, and repetition), which can give a sense of unity or give the
impression of relationships.
Orientation. Positioning relative to other objects or the parts of the frame can be
used to create stability or dynamism. The Rule of Thirds is one popular rule of
thumb.
Depth. The apparent solidity of objects, or the apparent distance relative to the
viewer.
CHOREOGRAPHY
Motion media derives its power from the fact that its visual elements are
dynamic, not
static. As such, the movement of the visual elements, either individually or
interactively, 27

must be purposeful as well. Choreography refers to instructions or steps that

guide the
m1ovement of each element Movement can and should carry
meaning. Don’t insert movements for the sake of having
something moving.
DIRECTION AND ANGLES Camera angles and placement
In motion media such as film, the director controls what the A bird’s-eye view (almost straight downward)
shot of a subject suggests
viewer sees and how the viewer sees it Techniques such as viewing from a "godlike"of power or
perspective, focus, angles and direction can depict something superiority High-angle shots
are similar, but not from as high up as a
literally and directly, as well as create subjective impressions bird’s-eye view.
on the part of the viewer. An worm’s-eye view (upward) shot of a
subject may make the subject look
Camera angles control how much the viewer sees.and may powerful or awe-inspiring.
thus be used to draw the viewer’s attention to a particular Eye-level shots put the viewer on level
detail. Conversely, shots may be designed to leave out a detail footing with the characters in a shot.
Canted (oblique or slanted)shots create
for character – for the sake of maintaining suspense (to reveal disorientation by showing the world
them later), or crafting a feeling of isolation or distance (from at an angle. 28
An over-the-shoulder shot may allow the
the characters who are in the shot). reader to “peek” at a character’s
Camera movements take the viewer through the scene being actions (such as writing.reading, or other
work).or see a dialogue “from their
created. The director can decide how to show the different side”, evoking sympathy.
parts of the action depending on the desired effect. A close-up (usually including part of a
character’s torso,or part of the
background) or extreme close-up (tighter
view of the character’s face) may be
used to show facial expressions, reactions,
or details
EDITING
This refers to the way that individual shots are sequenced in in post-production order to
tell a
story. Mainly, editing works to organize the shots in order to clearly convey the message
to
the audience. However, decisions made during the editing phase can also influence the
audience’s impressions of the subject, such as when certain characters or sides are
given
more screen time with favorable angles in order to elicit sympathy. Some details may
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also be
omitted
RHYTHMor glossed
AND PACINGover by being given comparatively little screen time.
One aspect that editing can focus on is pacing, which is largely determined by the frequency
of changes in shot or scene as well as by the speed of camera movement. Akin to the
number and size of panels in sequential or comic book art, the length and frequency of shot
or scene changes creates a pattern or tempo , which can be used to create a desired effect.
It is important to match the effect created by pacing to the intended message of the motion
QUIZ NO.#____

A B C D E F G H I 30

1 2 3 4 5 6 7 8 9
J K L M N O P Q R
10 11 12 13 14 15 16 17 18
 S T U V W X Y Z
19 20 21 22 23 24 25 26
31

1.
3 8 15 18 5 15 7 18 1 16 8 25
2.
3 15 13 16 15 19 9 20 9 15 14
3
.5 4 9 20 9 14 7 32

4
.13 8 25 20 8 13 1 14 4

16 1 3 9 14 7
5.
11 9 14 5 20 9 3
20 25 16 15 7 18 1 16 8 25

B. Enumeration 33

1-4.Give the traditional types

of motion media
5-6.Give the elements used in
compositon in art

1-5.Give the pruduction

process for animation 34

tends to follow the

steps